"Instruments" of Satire

In the article “Reading Between the Acts,” Joshua Smith argues that a look at the references to music and the performances during the interludes of the play The Knight of the Burning Pestle can be a key to understanding the satire of conventions of theater and class culture. Smith takes a close look at the cultural context behind musical instruments described in the play as well as the function of the May Day celebration at the end of the play.

Smith outlines the social status of the Citizen, George, and his wife Nell. In the sixteenth century, guilds of the working class became split into two sub-classes: the livery (ruling minority of successful craftsmen) and the yeomen (majority of less successful craftsmen). George proclaims his social status on stage as a freeman and a grocer, a citizen on London who is successful enough to have an apprentice, Rafe, and who is wealthy enough to attend a private theater.

However, Nell and George commit several faux paus and reveal that she is not accustomed to the conventions of private theaters. When Nell equates fiddles to rebecks in interlude 1, she exposes the fact that she cannot tell the difference between instruments; violins were popular among private theaters and elite entertainment, while rebecks had fallen out of popularity by the end of the sixteenth century. In the same act, when George requests shawms, he reveals he is more accustomed to the loud instruments of the street musicians and public theaters rather than private theaters. In Act 2, when Nell requests drums and trumpets to accompany Rafe, she recognizes that such instruments were used to accompany military scenes, but are more suited to the open air of the battle field or public theater instead of enclosed private theaters. Nell and George may be satirized by their lack of instrumental knowledge; however their position on stage and their critiques causes them to assume the position of a patron or a wealthy, high class citizen.

When Rafe adopts the role of May Lord act IV, Smith asserts Rafe’s lines and Nell and George’s commentary satirizes the aristocratic classes. The instruments, the morris dance, and the festivities were all common elements of the May Day festivals and dances. Originally the festivals were held in the thirteenth century when people would travel from towns to the country, gather greenery, return to the town and decorate streets, then commence in dancing.  Though Queen Elizabeth I attended May dances, such festivals were criticized by aristocrats because authorities condemned these festivities because of disorder and even fatal accidents. The morris dance which Nell calls for might have actually been a controversial dance if performed since it was banned in some parts of England in 1571.  

In Smith’s conclusion of his article, he asserts that Nell and George might have actually been the instruments as well as the object of satire; though they possess outdated and lower class knowledge and commit laughable faux paus, they also serve to remind the elite that they are, perhaps, equally ridiculous and have neglected their duty to the lower classes. 

Source: Smith, Joshua S. "Reading between the Acts: Satire and the Interludes in The Knight of the Burning Pestle." Studies in Philology 109.4 (2012): 474-495. Academic Search Complete. Web. 23 Apr. 2015.

Here's the link to the article online:

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